Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Venezuela and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1975.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Hot Snakes to the dance kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Schoolly D. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Tom Boy,
The Divine Comedy,
Kings Of Tomorrow,
Fifty Foot Hose,
Connie Case,
Soft Cell,
Visage,
Gil Scott-Heron and Jamie xx,
Sound Behaviour,
Flash Fearless,
Harry Pussy,
The Dirtbombs,
Strawberry Alarm Clock,
Sonic Youth,
Junior Murvin,
Chrome,
Lonnie Liston Smith,
Gang Gang Dance,
Beasts of Bourbon,
Yusef Lateef,
Flipper,
The Remains,
OOIOO,
Q65,
Charles Mingus,
the Soft Cell,
Bobby Hutcherson,
Goldenarms,
Icehouse,
The Durutti Column,
MDC,
Organ,
Jandek,
The Toasters,
Ken Boothe,
Sticky Fingaz feat. Raekwon,
Cal Tjader,
Faraquet,
Nirvana,
China Crisis,
Art Ensemble Of Chicago,
The Monks,
Janne Schatter,
Lower 48,
Al Stewart,
Ponytail,
KRS-One,
Camberwell Now,
Alice Coltrane,
Joe Smooth,
Tres Demented,
Groovy Waters,
The West Coast Pop Art Experimental Band,
Wasted Youth,
Hardrive,
PIL,
Jacques Brel,
Nas,
Isaac Hayes,
Amon Düül,
The Smoke,
Rekid, Rekid, Rekid, Rekid.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.